P..-od&Actiol'l Staff Department Chair Director of Dance Production Stage Manager Asst Production Stage Manager Rehearsal Manager Assistant Technical Director Light Board Operator Sound Operator Projectionist Stage Crew

Set Construction Crew

Staff Costume Shop Manager Costume Crew

Wardrobe Supervisor) Dressers

Hairdressing Crew

Interpreters' & Assistants for the Guest Artists

Staff Theatre Manager Staff Facilities Manager Box Office Supervisors Box Office Staff

Dennis Carroll Gregg Lizenbery Jennie S. Frazer Jungah Han Wei-yu Lin M. J. Matsushita Holly Sutherlin Jennifer Jones Jungah Han

,

Christa Eleftherakis, Doug Upp, Olivia Smoody & Daniel Sakimura Kelly Berry, James Davenport, Daniel Gelbman, Vincent Liem & students of THEA 240, 221, 200 Hanna!! Schauer Galli Christine Hauptman, Lisa Ohara, Angela Mangano, Tabitha Young & Manko Neubauer Marina Sprinker & Davin Weinstein Suzanne Calimpong, Mitchell Goo, Valerie Ho, Ashley Larson, Michelle .Nishimoto, Megan Patton & Malia Yamamoto Christine Hauptman, Sadie Yi, Thnya Hitchcox, Sarah Mesina, Lillian Tsang & Henry West

Wei-yu Lin, Hui-mei Chang, Megan Evans & Fan Xing Marcy Myers Mark Boyd Michael S. Lee & Tim Wiler Daniel Akiyama, Jennifer Norton, Tanisha Franquez, Karen Isozaki & Lei Sadakari

Publicity Director Kristy DeAnn Miller Publicity Assistant Chris Doi Photographer Andrew Shimabuku Graphic Designer Lauren Forsythe Program Editor/House Manager Sylvia Zietze Assistant House Managers Kathy Bishop & Helen Lee Website Assistant Kathleen Hoganson

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'lVnnedy Theatre-' -¢- 2001-2002 Season Mainsta!!e

Department of Theatre and Dance College of Arts and Humanities University of Hawai'i at Manoa

The University of Hawai'i at Manoa, College of Arts and Humanities

Department of Theatre and Dance, Music Department,

and School of Hawaiian, Asian, and Pacific Studies Center for Chinese Studies

- present .....-

3'-'dge Bao a"'d the Case of Qi"' Xia"'gliat\ (Qi"' Xiat\glia"'/Zha Mei at\)

the traditional Jingju (Beijing/Peking opera) as performed by Madam Shen Xiaomei, Mr. Shen Fuqing, and Mr. Lu Genzhang,

and taught to the actors and musicians by Mr. Shen, Mr. Lu, and Ms. Li Zhenghua,

Master Performers from the Jiangsu Province Jingju Company

.;A .. tistic Staff Translated by Elizabeth Wichmann-Walczak and Hui-mei Chang Directed by Elizabeth Wichmann-Walczak Assisted by Wei-yu Lin, Hui-mei Chang, Megan Evans, and Fan Xing Musical Direction by Frederick Lau and Daniel Cole Scenic Design by Joseph D. Dodd Costume and Hair Coordination by Sandra Finney Lighting Design by Kelly Berry Technical Direction by Gerald Kawaoka

A Note f .. o.-n Mada..n She"' Overall artistic supervisor of this

Resident Training Program and Production Jingju arises from the Chinese people--it embodies and can repre-sent us perhaps more clearly and completely than any other per-forming art. Yet along with generations of other Jingju artists in China, I believe that Jingju is also an art of international value. To achieve the international recognition that has been accorded other originally-ethnic arts such as ballet, opera, and realistic the · atre. Jingju like those arts must be studied in depth-and seriously performed-by non-ethnic artists outside of China. I am deeply grateful to the University of Hawai'i for its decades of. P•?neeri.ng work in this area. And I am confident that through thetr mtt!nsJVe study and respectful performance of Jingju, these University of Hawai'i students are both helping to bring Jingju the international acc~pmnce it deserves, and preparing to contribute meaningfully to the enrichment of multicultural world theatre.

, - Shen Xiaomei, Nanjing, Chtna, February 2002

Chat'acte .. Desc .. iptiot\s ZHANG SANYANG, owner and keeper of an inn in Bianliang City QIN XIANGLIAN, a village woman from Jinzhou Town in Hubei

Province; first wife of CHEN SHIMEl, mother of YING GE and DONG MEl

YING GE, young son of QlN XIANGLIAN and CHEN SHIMEl DONG MEl, young daughter of QIN XIANGLIAN and CHEN SHIMEl DOOR KEEPER, servant to CHEN SHIMEl CHEN SHIMEl, a villager from Jinzhou Town in Hubei Province,

husband to QIN XIANGLJAN, father toYING GE and DONG MEl; now Consort to the PRINCESS and brother-in-law of the Emperor

GREAT EUNUCH, servant to CHEN SHIMEl MINISTER WANG, (personal name Wang Yanling) Prime Minister

to the Emperor HOUSE MANAGER, servant to MINISTER WANG PALACE MAIDENS, servants to PRINCESS and DOWAGER EMPRESS PRINCESS, daughter of the DOWAGER EMPRESS, younger sister

of the Emperor, and wife to CHEN SHIMEl HAN QI, a military officer under CHEN SHIMEl's command JUDGE BAO, (personal name Bao Zheng) chief judge of the Kaifeng

high court, renowned for his honesty and jusuce WANG CHAO, an officer of the Kaifeng high court MAHAN, an officer of the Kaifeng high court COURT ATTENDANTS, guards at the Kaifeng high court EXECUTIONERS, penal officials at the Kaifeng high court DOWAGER EMPRESS, mother of the PRINCESS and the

Emperor, mother-in-law of CHEN SHIMEl

-rhe Scet\es Scene 1 ')\rriving at the Inn"-An early summer evening during the

Song Dynasty (960--1279), in the imperial city of Bianliang in Henan Province, at Zhang Sanyang's inn.

Scene 2 "Charging into the Palace"- The next morning, at Chen Shimei's mansion and on the street nearby.

Scene 3 "Appealing Injustice"- Moments later, on the same street and at Minister Wang's mansion.

Scene 4 "The Birthday Celebration" - The next day, at Chen Shimei's mansion.

Intermission Scene s "Killing at the Temple" - Later the same day, at Zhang

Sanyang's inn, and then at a temple on the way to the Kaifeng High Court.

Scene 6 "The Execution" - At Chen Shimei's mansion, and then at the Kaifeng High Court, some days later.

Casto Cha .. act~ .. ~· (itl ~ ... d~.- of app~c:.-a..,ce) February 6, 8, 10, 14 & 16

ZHANG SANYANG QIN XIANGtiAN

YING GE DONG MEl DOOR KEEPER CHEN SHIMEl GREAT EUNUCH MINISTiR WANG HOUSE MANAGER PALACE MAIDENS

PRINCESS HAN Ql JUDGE SAO WANG CHAO MAHAN COURT ATTENDANTS

EXECUTIONERS

DOWAGER EMPRESS

Troy M. Apostol Megan Evans (Scenes 1-3,

Scene 4 on Feb. 8 and 14) Emi Fujinami* (Scenes 5-6,

Scene 4 on Feb. 6, 10 and 16) Eunsook Kim Nicole Tessier Jennifer Goodlander Tim Wiler Stephen Fleming Khetphet Phagnasay Blake Kushi Debra Jean Zwicker, Chihiro Hosono, Fan Xing & Frances Maguerite Mammana Hui-nwi Chang ' Julie A. Iezzi Joshua John Fanene Chris Doi Jennifer Goodlander Gilbert Molina, Alma Pasic, Colleen Lanki & R. Kevin Doyle Cassandra Wormser, Blake Kushi, Khetphet Phagnasay & Justin Young Elmira Teresbcbenko

•Jn partial fulfillmenc of the Masters of Fme Arts Degree in Asian Performance

Musicia~s

(at all performances) PERCUSSION ENSEMBLE: Conductor, danpigu (single-skin drum),

ban (clapper), and tanggu (hall drum)

Daluo (large gong)

Naobo (cymbals) Xiaoluo (small gong)

Chris Lai Hipp (Scenes 1-5) Daniel Cole (Scene 6) Masaya Shishikura & Frederick Lau Frederick Lau & Lana Hirai Eiko Saeki

. --~ :7.11';) r '

Characte .. s (itl o.-de.- of appea..-atl~) February 7, 9, 13, 15 & 17

Casto

ZHANG SANYANG QIN XIANGLIAN

YING GE DONG MEl DOOR KEEPER CHEN SHIMEl GREAT EUNUCH MINISTER WANG HOUSE MANAGER PALACE MAIDENS

PRINCESS HANQI JUDGE BAO WANG CHAO

Gilbert Molina Cassandra Wormser (Scenes 1-4) Alma Pasic (Scenes 5-6) Debra Jean Zwicker Chihiro Hosono Chris Doi Colleen Lanki Stephen Fleming Blake Kushi Khetphet Phagnasay Eunsook Kim, Nicole Tessier, Hui-mei Chang & Elmira Tereshchenko Fan Xing Justin Young Joshua John Fanene Jennifer Goodlander

MA HAN Chris Doi COURT ATTENDANTS Troy M. Apostol, Emi Fujinami*, Tim Wiler

& R. Kevin Doyle EXECUTIONERS Megan Evans, Blake Kushi,

Khetphet Phagnasay & Julie A. Iezzi DOWAGER EMPRESS Frances Maguerite Mammana

•Jn partial fulfillment of the Masters of Fine Arts Degree in Asian Performance

Musicia~s

(at all performances) MELODIC ENSEMBLE: Conductor, jinghu

(the smaller two-string spike fiddle) Daniel Cole (Scenes 1-5) Sunhee Koo (Scene 6)

Erhu (the larger two-string spike fiddle) Tang Yang Wen Jing &

Yueqin (moon lute) Sanxian (three-string lute)

Barbie Wong Alan Yuen Hsin Wong Masaya Shishikura & Kevin Olafsson

Zhongruan (the larger round-bodied lute) Katie McClellen Suona (the double-reed wind instrument) Frederick Lau Dizi (the horizontal bamboo flute) Frederick Lau

an sao to the Following Jndividuals fo .. Making This P .. oduction P~ssible:

Roger T. Ames, Man Kwong Au, James R. Brandon, Ronald Brown, W. Dennis Carroll, Jessie Cheng, Larry Chiang, Lily Chiang, Julia Chu, Daniel Cole, Evan Dobelle, Kit Dobelle, Peggy Eu, Anita Hodges, Kathleen Hsiao-yun Hsiung, Judith Hughes, Andrew In, Jack Katahira, Terence Knapp, George Kuo, Daniel W.Y. Kwok, Kenneth K. Lau, Gregg Lizenbery, Chin-t'ang Lo, Roger Long, Karin Mac:I

Di.-ecto.-'s Notes We are following authentic Jingju perfonnance practices as

closely as possible. Our costumes are from China, provided by the Jiangsu Province Jingju Company, and our crew has trained for many hours to construct the elaborate headdresses worn by the female characters. Scenery has been kept to a minimum, and, fol-lowing standard contemporary practice in China, is rearranged dur-ing the action of the play behind a silk scene curtain. The stylized quality of Jingju verse recited and sung in Chinese often makes it difficult for Chinese audiences to understand; in our production, although Jingju is being spoken, recited, and sung in English, we have tried to preserve that stylized quality and are therefore follow-ing the Chinese practice of projecting the verse on both sides of the stage. In contemporary performance practice, leading roles are often shared among two or more actors in successive scenes of the same performance, and we do have different performers playing Qin Xiangtian in the first and second acts. We also have women playing men, following the traditional aesthetic of assigning roles according to vocal and physical abilities rather than sex. Most importantly, however, every actor and musician in our company has received in-depth, professional training in preparation for these performances.

This production is the culmination of a six-month Jingju Resident Training Program held at the University of Hawai'i from August 2002 through January 2002. During this program more than 60 stu-dents have undergone intensive training in the techniques of Jingju movement, song, speech, musicianship, makeup, costuming, and staging utilized in today's performance. Their teachers have been three master artists from the Jiangsu Province Jingju Company: Mr. Shen Fuqing, a renowned Beijing opera musician and compos-er; Mr. Lu Genzhang, an award-winning performer of both tradi-tional and modem Jingju; and Ms. Li Zhenghua, the leading student of Madam Shen Xiaomei, who is a personal disciple of the legendary Master Mei Lanfang and one of the most respected creative artists in Jingju today.

The experience of working closely with these master performers has been an exhilarating, expanding, and immensely rewarding one for all of us. I have been learning from Mr. Shen and Mr. Lu since 1979, whw Madam Shen became my own Jingju performance teacher and her colleagues wholeheartedly made the transmission of Jingju performance to the West a high priority in their profes-sional lives, as well. Having Mr. Lu and Mr. Shen here in Hawai'i for a third and a fifth time respectively has been a joy. And it has been a real pleasure working with Ms. Li, whose own training I witnessed many years ago, and who has clearly now became a superb

. ~, ·. ····. ,. . -.~ ..

performer and teacher herself. I am extremely grateful to all three artist-teachers, and immensely pleased that like myself the actors, musicians, and crew have grown to care for them deeply, as well. All of us also owe Madam Shen a great debt of gratitude for the artistic supervision she has provided, both during this project and throughout th.e years that led up to it. We would like to dedicate these performances to Madam Shen, Mr. Shen, Mr. Lu, and Ms. Li, and hope that our efforts to capture and convey a part of their vast and rich art meet with their approval.

' -Elizabeth Wichmann-Walczak

.AbotAt the Xiq'-" (Chit"\ese "opet

types, its virtuoso performances, and its moving melodies. But the same basic tale is staged today in many regional forms of Xiqu including Hanju, Huiju, Chuju, Dianju, Yuju, Pingju, Tongzhou Bangzi, Qinqiang, Jinju, Hebei Bangzi, Huaiju, and Xiangju. Exam-ples include the Yueju play Pipa ci (Pipa lyrics), the Yiyang Qiang play Pipa yan (Pipa banquet), and the Chuanju play Chen Shimei bu ren qian qi (Chen Shimei refuses to acknowledge his first wife).

It is almost impossible to determine the very first version of this story. In his book Huabu nong tan (An investigation of rural popular theatre), Jiao Xun (1763-1820) describes a performance of the Qin Xianglian story under the title Sai pipa (Surpassing the pipa). The latter half of this story is very different from the current version, however. Qin Xianglian escapes from her would-be murderer to a Sanguan temple, where the god helps her, and teaches her military strategy. Qin Xianglian then wins a major battle, becomes a high-ranking officiat, and excoriates Chen Shimei herself. Jiao Xun much preferred Sai pipa to the fourteenth century Nanxi (southern drama) play, Pipaji (The legend of the pipa). Today a version simi-lar to Sai pipa is still staged in Huaiju.

Historically, Chinese society was male-centered. Scholars becom-ing high officials and then deserting their original wives has been a prevelant theme in dramatic literature. Plays ranging from the Nanxi of the Song (96~1279) and Yuan (1271-1368) dynasties-such as Zhang Xie zhuangyuan (First-place candidate Zhang Xie), Zhao Zhennii Cai Erlang (Maiden Zhao Zhen and Second Master Cai), Wang Kui (Wang Kui), and Pipa ji (The legend of the pipa)-to today's Qin Xianglian have condemned such male ingratitude and betrayal. Among these many plays, there are two main types of end-ings. One is a tuanyuan ending (literally "round round" and implying "reunion"), as occurs in Zhang Xie zhuangyuan (First-place candidate Zhang Xie) and Pipa ji (The legend of the pipa). In plays with this type of ending, the first wives are dependants of the men, and go along with the "reunion" of the family as enlarged by an additional wife. The other type of ending involves punishment of the errant husband. Examples include Zhao Zhennii Cai Erlang (Maiden Zhao Zhen and Second Master Cai), in which Second Master Cai is struck down by lightening; Wang Kui (Wang Kui), in which Wang Kui's spir-it is taken by his wife's soul; and Sai pipa (Surpassing the pipa), in which Qin Xianglian herself judges and punishes her husband. But in all of these plays the help of supernatural powers is needed in order to punish the husbands. In comparison, the current version of Qin Xianglian is much closer to real life. As a result, the tragic fate of Qin Xianglian is even more moving, and through Judge Bao the common people's desire for order and justice is ardently expressed.

Judge Bao, China's most famous upright official, is an actual his-torical personage. His name was Bao Zheng, he was born in the year 999 AD, just over 1,000 years ago, and he served in the Northern Song dynasty (96~1127), becoming famous as an honest and upright judge who strictly enforced the law and was fearless in the face of the powerful aristocracy. He is featured in the Song shi, the official history of the Song dynasty, but folk tales about him are nch-er and more abundant. In them, the actions of many other upright officials have been attributed to him as well, making him an imagi-natively exaggerated mythological figure. Not only is he "iron faced and selfless," righting injustices for the common people-he also descends to the netherworlds at night to deliver judgements there. In the design of his lianpu (painted-face makeup), the curved moon on his forehead, a taiji symbol, indicates this ability. In later eras tem-ples to Judge Bao were built, and he was worshipped as a hero of the people. This status is different from that of the "heavenly gods" stan-dard in many religions; instead, he originated as a common person but through his brilliance transcended other mortals to become one of the "human gods" characteristic of Chinese popular religion.

The worship of Judge Bao is actually the worship of a just and fair society, with honest and upright government, justice for the com-mon people, and rule by law. In stories about Judge Bao, ideals such as "rule the nation with law" and "the same crime by a prince or a commoner receives the same punishment" become the reality. Plays about Judge Bao have been handed down for many centuries, including more than ten Yuan dynasty zaju plays from the thirteenth century. The current version of Qin Xiangtian being performed today is one of the most popular.

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